Music Histories from the Edge

LA T E L Y, A C R O S S T HE HU M A NI T I E S , H I S T O R I C I S M in its many guises has been in retreat—a retreat that music studies has in some respects hastened. This collection of essays asks why sound and music appear to induce exhaustion with history and historical method and how a renewed focus on musical practices might motivate fresh histories and novel forms of history writing. Such questions were the premise of a multidisciplinary Mellon-funded collaboration between Yale University, the University of California at Berkeley, the University of Chicago, and King’s College London that met from 2016 to 2018. Charged with rethinking the relation of music to history, the participants ultimately wondered why scholars, musicological and non-, have so frequently deployed music to disrupt or delimit historical projects—indeed whether music itself tends to elicit or even cause such disruptions and delimitations. The ironies here are patent. Not long ago, musicologists would regularly posit history as the most efficacious cure for what ailed their discipline. The study of music, so it was thought, always risked having its head in the clouds, especially the vapors of German idealism. To write music history was to place music’s feet on secure ground—to resituate, rematerialize, and re-embody in ways that checked the transcendental and formalist tendencies of old. ‘‘History,’’ by this reckoning, also designated a place, one where values are produced, where things are exchanged, where bodies move, where politics is played out. And yet, as many have observed, music has never been an entirely convincing occupant of this place, whose solidity is specious at best. Vibrational, ephemeral, footloose, politically mobile, and semiotically uncertain, music forever raises the specter of old philosophical anxieties—about the relation of the aesthetic to the historical, of sensuous experience to rational knowledge, of political orthodoxies to the undercommons of insurgency and resistance, of the vivid present to the absent past. Small wonder that so many theories of music’s historicity have treated musics of all kinds as strange and exceptional historical actors, even improbable bearers of special historical insight. ‘‘Janis Joplin, Bob Dylan, and Jimi Hendrix say